Full Transcript for Creative Visualization for Magical Results

Now, Plato, as it's been recently revealed, was actually a closet Pythagorean. 00:03:08.689 --> 00:03:11.359 We found out that that's been pretty well established. 00:03:11.864 --> 00:03:19.855 So he was in the same hermetic line pre-hermetic line as Empedocles and Pythagoras 00:03:20.195 --> 00:03:21.464 and that whole bunch, now anyway, 00:03:22.328 --> 00:03:30.802 Plato is pretty well known for his idea of preforms on what we now call the 00:03:30.802 --> 00:03:36.374 astral plane, the deformative plane, the higher dimension formative plane. 00:03:36.792 --> 00:03:43.804 And what Plato came up with was the idea, or he used the analogy, of the ideal chair. 00:03:44.531 --> 00:03:50.342 And this is just before there can be a chair on the physical plane, 00:03:50.342 --> 00:03:57.722 Before the chair gets sketched out and carved out and has the legs glued on 00:03:57.722 --> 00:03:59.402 or whatever, there has to be, 00:04:00.262 --> 00:04:02.182 somebody has to imagine the chair. 00:04:02.906 --> 00:04:08.902 And this is the ideal chair, is the chair that's imagined, the chair that becomes. 00:04:10.382 --> 00:04:11.927 Sort of the archetypal chair. 00:04:12.543 --> 00:04:17.837 And then it's on the astral. And then if this chair is visualized and imagined, 00:04:18.492 --> 00:04:21.995 in enough detail to where it can be constructed, 00:04:22.661 --> 00:04:27.642 then that preform influences the creation of the chair. 00:04:27.642 --> 00:04:33.962 The chair, the idea here is, is that if once the chair is imagined and it's 00:04:33.962 --> 00:04:38.917 imagined in enough detail and it's imagined in enough, in enough intensity, 00:04:39.520 --> 00:04:42.301 a chair is going to come about. Somebody is going to build the chair. 00:04:42.818 --> 00:04:51.242 And this theory, this ideal form theory, is what is behind the whole process 00:04:51.242 --> 00:04:52.896 of creative visualization. 00:04:53.674 --> 00:04:58.852 So, my esteemed colleague, Lon Duquette. 00:05:00.254 --> 00:05:05.828 In his Chicken Kabbalah of Rabbi Lamed Ben Clifford, which I heartily recommend, 00:05:06.223 --> 00:05:10.708 he takes the Platonic chair idea, and he brings it all the way down from the 00:05:10.708 --> 00:05:12.951 top of the tree of light, way up there, and you know, he has, 00:05:13.427 --> 00:05:15.999 God way up in Kether, God says, 00:05:17.068 --> 00:05:19.215 in Asaluth, God says, rest. 00:05:19.813 --> 00:05:24.918 And then the angel the archangels in korea they one level down they say god 00:05:24.918 --> 00:05:27.728 wants a chair and then all the 00:05:27.728 --> 00:05:32.409 draftsmen and the workers down and get zero down in the astral they say, 00:05:32.874 --> 00:05:36.904 hi the boss the boss says that he wants a chair put it on the drawing board, 00:05:37.351 --> 00:05:42.178 so they all go to work designing this chair and then down in malkuth down in 00:05:42.178 --> 00:05:44.229 this in in the Shia, where we are, 00:05:44.863 --> 00:05:48.828

that the chairs are on the showroom, you know, or they're in the factory, 00:05:48.828 --> 00:05:51.928 and they're coming out, and they're on the showroom, so this is the, 00:05:52.428 --> 00:05:55.933 using Plato's ideal chair, this is what Lon came up with, now, 00:05:56.788 --> 00:06:01.638 this also works with sex magic, too, because you're, the whole idea of sex magic, 00:06:01.638 --> 00:06:04.760 I think, as we've discussed before, is you create a magical child, 00:06:05.219 --> 00:06:09.868 a magical offspring, that precedes, you know, 00:06:10.408 --> 00:06:15.151 or takes the place of the actual offspring and the sex act is used. 00:06:17.328 --> 00:06:22.028 To establish that and that's very powerful and again you should use creative 00:06:22.028 --> 00:06:27.703 visualization along with that to implement that technique also. Now, 00:06:28.595 --> 00:06:34.648 When you say to compare this, to compare this and relate this to that other 00:06:34.648 --> 00:06:40.268 kind of, that other conduit of magic, the magic of the word, 00:06:41.232 --> 00:06:53.251 the magic of the mantra, the magic of the Kambalistic formula, that spoken word. 00:06:53.355 --> 00:07:04.108 Now, that is very effective also, and it really, really hits the subconscious 00:07:04.108 --> 00:07:06.768 mind, and it is very effective. 00:07:07.285 --> 00:07:14.030 And, of course, ideally, the magician combines visualization and the magic of the word. 00:07:14.477 --> 00:07:20.998 He combines the two together, ideally. Now, going back at looking at history 00:07:20.998 --> 00:07:26.468 a little bit, let's compare pagan magic of the Egyptians, 00:07:28.488 --> 00:07:32.566 and the Babylonians, and compare that to. 00:07:34.968 --> 00:07:39.517 The Jewish magic and Islamic magic. 00:07:40.908 --> 00:07:50.248 They both the old Jewish rabbis and the Islamic imams they, 00:07:51.868 --> 00:07:59.242 tried to suppress imagery they tried to suppress the use of imagery because 00:07:59.538 --> 00:08:00.888 they felt that this would, 00:08:01.988 --> 00:08:08.588 empower people to go and do magic on their own and whatever and so they came 00:08:08.588 --> 00:08:11.985 up with this idea of no, no graven image, you know, and all this. 00:08:12.848 --> 00:08:17.538 And even when so far, you shouldn't do pictures of people. You shouldn't imagine 00:08:17.538 --> 00:08:19.961 pictures of gods. You shouldn't. 00:08:20.245 --> 00:08:22.294 Everything should be the word. 00:08:24.189 --> 00:08:29.989 Now, this sort of thing, still, the magic was effective, the magic of the word, 00:08:29.989 --> 00:08:35.879 obviously, because, as we know, the Kabbalah and the Greek Kabbalah, of course, came first. 00:08:35.879 --> 00:08:43.260 But, I mean, the Hebrew Kabbalah and the Greek Kabbalah, your letter is also a number. 00:08:43.475 --> 00:08:46.219 So you have mathematical formulas that also relate to letters, 00:08:46.219 --> 00:08:48.531 and this does affect the deep mind. 00:08:49.065 -->

00:08:53.739 Now, one of the books we're going to recommend with a qualification on creative 00:08:53.739 --> 00:08:58.719 visualization is the one by OPL, The Art and Practice of Getting Material Things 00:08:58.719 --> 00:09:00.089 Through Creative Visualization. 00:09:00.089 --> 00:09:07.533 This is a really good little book, and I recommend it with one qualification. He. 00:09:08.944 --> 00:09:11.884 He does not think that the word, 00:09:11.884 --> 00:09:15.928 he says in there that the word does not affect the subconscious mind. 00:09:16.334 --> 00:09:22.122 I don't know why, why with all of the, that was a mistake on his part because he knew better. 00:09:22.528 --> 00:09:27.398 But for some reason or other, he said that. Don't be tripped up by that at all. 00:09:28.284 --> 00:09:37.274 The word, the sound, and by the way, in the Islamic version of the Kabbalah, 00:09:37.274 --> 00:09:41.999 which is popularly called abjad, but that's not what they really call it. 00:09:42.197 --> 00:09:49.564 But they are more concerned with the phonetic part, the syllable part of the 00:09:49.564 --> 00:09:53.721 word, than they are with the numeric, the alphanumeric combination. 00:09:54.087 --> 00:09:59.902 But regardless of that, the word is, in both Arabic and in Hebrew. 00:10:00.864 --> 00:10:02.355 Is tremendously powerful. 00:10:02.662 --> 00:10:08.924 And those formulas, in modern hermetic magic anyway, they're combined. 00:10:08.924 --> 00:10:12.956 Now, hermetic magic, we use visualization very, very strongly. 00:10:13.519 --> 00:10:17.964 And in the Kabbalah, they're a little bit reticent on it still. 00:10:18.324 --> 00:10:24.380 In the Hebrew Kabbalah, they're a little bit reticent. So they're losing part of their power there. 00:10:24.827 --> 00:10:34.210 Although, once you plug visualization into the Kabbalah, it does increase the power and the effect. 00:10:34.744 --> 00:10:40.589 Now, the idea of visualization, as I said, is you visualize a picture of something. 00:10:41.303 --> 00:10:48.117 That you want to bring into the physical realm, something that you want to have 00:10:48.117 --> 00:10:53.894 an effect in the physical realm, something that you want to use to influence the physical realm. 00:10:54.416 --> 00:11:01.377 And this visualization can be combined with the word in mantras. 00:11:01.377 --> 00:11:04.787 It can be combined with the word by taking the letters. This is why we like 00:11:04.787 --> 00:11:13.347 Phoenician, by the way, in lieu of Hebrew, because it's so much easier to visualize Venetian letters. 00:11:13.727 --> 00:11:18.807 They're very monolithic. They're very runic. And you can imagine these Venetian 00:11:18.807 --> 00:11:22.454 letters in color, and in the colors of the various spheres and everything. 00:11:22.791 --> 00:11:27.656 And, well, you know, Martin wrote a book called The Key to the True Kabbalah, 00:11:27.991 --> 00:11:34.084 which even though his Kabbalah is all kind of in a German alphabet, 00:11:34.432 --> 00:11:37.073 he derives it, I think, from the Sephirazil. 00:11:37.427 --> 00:11:42.957 And you can translate Martin's ideas on how to visualize these letters and how 00:11:42.957 --> 00:11:43.964 to pronounce these letters. 00:11:44.312 --> 00:11:48.177 Martin says the pronunciation of the holy name is actually visualizing it in 00:11:48.177 --> 00:11:51.143 all the four tabulistic dimensions at the same time. 00:11:52.367 --> 00:11:57.765 But this depends upon, as a hermetic tabulist would certainly agree, 00:11:57.950 --> 00:12:01.544 this depends upon creating visualization. Now. 00:12:04.107 --> 00:12:09.624 Let's talk about how this works in the Far East and in Tibetan work. 00:12:10.460 --> 00:12:15.085 The Tibetan Tantrics, and I have had some experience with that, 00:12:15.538 --> 00:12:23.117 and so I did point out with them that visualization with them is all important. 00:12:24.206 --> 00:12:30.023 This is, and what they do, and we have learned a lot from them, I'll tell you, 00:12:30.540 --> 00:12:39.793 what they do is they meticulously, meticulously create these various god forms and goddess forms. 00:12:40.420 --> 00:12:43.850 And, of course, they're Buddhists, well, most of them are. 00:12:44.198 --> 00:12:49.250 They're Buddhists, and so therefore these goddess and goddess forms, 00:12:49.580 --> 00:12:54.237 which by the way come from the original shamanic Bunpo, and then they got some 00:12:54.237 --> 00:12:56.928 of them they brought up from Hinduism and whatever. 00:12:58.777 --> 00:13:03.417 And a few of them came down from Mongolia and whatever, but essentially they're 00:13:03.417 --> 00:13:09.225 Buddhists, and so as far as they're concerned, all this is essentially illusion that you're creating, 00:13:10.777 --> 00:13:14.144 and their attitude is philosophically that the whole universe, 00:13:15.357 --> 00:13:19.837 is illusion including you yourself and whatever but therefore, 00:13:20.557 --> 00:13:26.827 their theory is that whatever you create in your imagination is just as real 00:13:26.827 --> 00:13:31.679 or can be made just as real as anything in the physical world, 00:13:32.375 --> 00:13:36.954 because if it's all illusion then what you're seeing in the physical world, 00:13:37.330 --> 00:13:38.898 even the chair you're sitting in. 00:13:40.617 --> 00:13:44.597 Is a measure of illusion It's the measure of illusion, so consequently you can 00:13:44.597 --> 00:13:48.017 create another chair hanging in the air, and it's just as real as the one you're 00:13:48.017 --> 00:13:49.767 sitting in, according to that. 00:13:50.426 --> 00:13:54.443 So, as an exercise to prove to you that you can control the whole universe, 00:13:54.761 --> 00:13:59.987 that is illusion, of course, then what they do is they sit for hours and hours, 00:13:59.987 --> 00:14:02.175 and they build up in their minds 00:14:02.593 --> 00:14:07.109 very elaborate, plastic, totally realistic, 00:14:08.170 --> 00:14:12.680 four, five,

six, eight-armed deities, some of them pretty ferocious, 00:14:13.068 --> 00:14:15.803 and they bring these to life. 00:14:16.426 --> 00:14:20.130 And then they bring them, they make them so real that they come to life. 00:14:20.269 --> 00:14:23.410 And of course, if they are inclined, they could send them out to do things, 00:14:23.410 --> 00:14:25.494 too, and, you know, and bring things and whatever. 00:14:25.865 --> 00:14:31.380 But then, supposedly, if you're a Buddhist, you're supposed to take this God 00:14:31.380 --> 00:14:34.400 form, and after you've brought it to life, then you're supposed to dissolve 00:14:34.400 --> 00:14:40.196 it and then go into a sort of a Zen type of meditation and say ah, 00:14:41.430 --> 00:14:49.456 I created it and I dissolved it ah, yeah well, you know, the difference is with us here in the West. 00:14:50.950 --> 00:14:59.580 In a hermetic proposition is we believe that everything in the universe including 00:14:59.580 --> 00:15:04.759 what you imagine has a measure of reality. 00:15:05.366 --> 00:15:11.531 That's very important. The one big difference between us and the Tantric Buddhists. 00:15:12.436 --> 00:15:16.151 The one big difference between the Hermetic magicians and the Tantric Buddhists, 00:15:16.453 --> 00:15:23.181 we believe that everything in the whole universe is a measure of reality. 00:15:23.791 --> 00:15:28.973 They believe that everything in the universe is some measure of illusions. 00:15:29.814 --> 00:15:34.101 Now, you may think that this is sort of similar to the same thing, 00:15:34.101 --> 00:15:39.467 but actually there is a difference, and yet we can use their methods. 00:15:40.122 --> 00:15:41.421 We can use their methods. It's 00:15:41.421 --> 00:15:45.731 just that we really, we don't need to dissolve the entities at the end. 00:15:45.731 --> 00:15:52.191 We can just put the entities in our pantheon and use them, and create your own 00:15:52.191 --> 00:15:55.971 God forms, bring your own God forms to life, which is what we do, 00:15:55.971 --> 00:15:58.992 of course, in our psychic center system. 00:15:59.433 --> 00:16:04.776 And the Tibetans have taught us a great deal about how to do this, 00:16:05.252 --> 00:16:08.851 and they've taught us how to do it and how to effectively do it, 00:16:08.851 --> 00:16:13.416 the techniques for doing it, and they are primarily forms of yoga. 00:16:14.085 --> 00:16:19.372 And so from that, and now I'm referring not just to my own work, but. 00:16:22.041 --> 00:16:26.835 Franz Barden is a form of raja and tantric yoga, in a sense. 00:16:27.154 --> 00:16:38.561 And Crowley, he didn't quite get to this. He was very, very much into yoga and getting his students. 00:16:41.761 --> 00:16:48.201 To do various forms of yoga. But he never was that I know of that he managed 00:16:48.201 --> 00:16:52.856 to integrate, completely integrate, the hermetic system and his yoga system. 00:16:53.644 --> 00:16:56.674 And I think he would have gotten around to

it if he lived longer. He probably would have. 00:16:57.081 --> 00:17:02.674 And, of course, in Crowley's time, we didn't know as much about how they actually 00:17:03.028 --> 00:17:08.647 did things and all that as we do now. So we will forgive him for that. But he did. 00:17:09.042 --> 00:17:12.183 He did definitely start us off on the path of. 00:17:14.261 --> 00:17:18.665 Putting the yoga in with the magic. Now. 00:17:19.552 --> 00:17:25.407 I want to talk about creative visualization at the most basic, 00:17:25.407 --> 00:17:27.377 even non-magical level for a minute. 00:17:27.377 --> 00:17:33.087 And, you know, kind of tell you some anecdotes about how it works and things 00:17:33.087 --> 00:17:37.380 you can do with it, just to give you an idea of how effective it can be. 00:17:37.925 --> 00:17:44.199 One of the things that people who, even magicians do this, will get an image, 00:17:44.658 --> 00:17:49.952 a photograph, a drawing, or whatever, or create one. If you're an artist, you can create one. 00:17:50.538 --> 00:17:55.989 And make a picture of it, and that becomes your treasure map, so to speak. 00:17:56.436 --> 00:18:02.187 And you put that, you know, where you can see it every day. And you look at 00:18:02.187 --> 00:18:03.274 it, and you say, I'm going to get that. 00:18:04.247 --> 00:18:07.882 Or I'm going to meet a woman like that, or I'm going to meet a guy like that, or something like that. 00:18:08.385 --> 00:18:11.544 And you keep looking at that, and you keep thinking that. 00:18:11.857 --> 00:18:15.987 This way, you don't have to, you know, you don't really have to imagine it yourself. 00:18:15.987 --> 00:18:18.614 You create, and then you can think about it, too. 00:18:18.951 --> 00:18:24.127 You should be able to imagine it in your own mind and on your front screen visualization. 00:18:24.127 --> 00:18:31.007 But you don't even need to do that. You can create this picture or put together 00:18:31.007 --> 00:18:32.527 a collage or whatever you want to do. 00:18:33.487 --> 00:18:37.988 I can treasure that. Now, as an example of this, from my own experience. 00:18:39.607 --> 00:18:44.434 Back some years back when I was working for a corporation over in Glendale, 00:18:44.881 --> 00:18:52.307 I was the art director, and I was very much into sailing at the time and still 00:18:52.307 --> 00:18:53.466 would like to get back on the water. 00:18:53.814 --> 00:18:59.889 But I was really interested. I really wanted a nostalgic, old-fashioned schooner, 00:19:00.567 --> 00:19:02.603 and I couldn't quite afford what I really wanted. 00:19:03.081 --> 00:19:08.120 And what I really was yearning for was a 50, 60-foot, 00:19:08.756 --> 00:19:14.227 ocean-going, gaff-rigged, old-style gaff-rigged schooner, Pacific, 00:19:14.227 --> 00:19:18.350 you know, South Pacific trading schooner, kind of an Errol Flynn kind of boat. 00:19:18.908 --> 00:19:22.891 And this is what I really wanted. And, you know, I was dreaming big. 00:19:23.809 --> 00:19:32.077 So I got a picture of a drawing, actually, a side view drawing of the boat rigged 00:19:32.077 --> 00:19:34.000 exactly the way I wanted it and I liked it. 00:19:34.557 --> 00:19:39.697 And I took this drawing and then I realized that I was going to need to color 00:19:39.697 --> 00:19:41.134 it in. Now, that's an important point. 00:19:41.570 --> 00:19:46.330 You've got to have whatever your treasure map is, your treasure picture is, it's got to be in color. 00:19:46.963 --> 00:19:49.772 It has to be. And I'll give you some examples of why it has to be. 00:19:50.300 --> 00:19:58.067 Anyway, so I colored the hull blue, and I colored the superstructure cream color, and I fixed it. 00:20:00.367 --> 00:20:05.177 In color, and then I put it up on my desk or above my desk. And my boss came 00:20:05.177 --> 00:20:09.392 by, and he looked at that, and he said, what's that? And I said, that's my boat. 00:20:09.914 --> 00:20:13.787 And he said, oh, he said, that's your boat, huh? He said, and I said, 00:20:13.787 --> 00:20:14.812 yeah, I'm going to get that boat. 00:20:15.749 --> 00:20:23.288 And so he just kind of walked away and, you know, at the 50, 00:20:23.288 --> 00:20:27.088 60 foot scoundrel, that's just, that's quite a, that's quite, 00:20:27.088 --> 00:20:28.480 quite something to be wishing for. 00:20:29.158 --> 00:20:34.048 Well, so every, so, so often he'd come by and he'd look at that and he'd say, 00:20:34.048 --> 00:20:36.817 oh, you got your boat yet? And I said, no, no, no, yeah, but I will. 00:20:37.694 --> 00:20:42.510 And then about four I guess about three weeks after that, 00:20:43.261 --> 00:20:47.348 my friend Dave Finnan called me up and said oh there's something in the boat 00:20:47.348 --> 00:20:53.618 trader you ought to look at told me what page so I went out that afternoon after work, 00:20:54.218 --> 00:20:57.298 on the way home and I picked up a copy of the boat trader and I looked on the 00:20:57.298 --> 00:20:59.456 page where David and here was this, 00:21:00.157 --> 00:21:07.022 here was this gaffering schooner 19 feet long on a trailer and a guy was selling it. 00:21:07.887 --> 00:21:11.206 And it was a nice sailor, but I mean, it was, but it was, you know. 00:21:12.177 --> 00:21:17.846 And I, and I, wow, you know, and you can imagine this, a gaff rig, 00:21:17.846 --> 00:21:22.871 a two-masted gaff rig schooner on a trailer, 19 feet long. 00:21:23.465 --> 00:21:28.926 And I got Dave and we went out to Lake Ferris. 00:21:30.436 --> 00:21:35.446 And sure enough there was this British fella and he loved to build boats and 00:21:35.446 --> 00:21:38.763 he built this thing and his wife didn't like it, it was a little too radical, 00:21:39.059 --> 00:21:42.959 so he wanted to so he predicted nothing and it was a brand new boat. 00:21:44.246 --> 00:21:48.999 And it was painted exactly the same color scheme as I had put on my boat, 00:21:49.238 --> 00:21:55.304 it had the same rig exactly, but it was 19 feet

long it was on a trailer and i could afford it, 00:21:56.014 --> 00:21:59.445 i reasonably afforded it so i bought it and we took it home, 00:22:00.153 --> 00:22:05.146 and and put it in the in the front yard in pasadena and then of course a couple 00:22:05.146 --> 00:22:07.726 days later my boss came by and he said well you got your boat yes, 00:22:08.206 --> 00:22:11.846 as a matter of fact i have you he said oh come on and i said yeah i said i got 00:22:11.846 --> 00:22:14.846 it and and i said you know i said you want to go over and take a look at it 00:22:14.846 --> 00:22:16.152 so he drove over after work, 00:22:16.726 --> 00:22:21.706 and he took a look at it and his jaw dropped down and he said my god he said 00:22:21.706 --> 00:22:23.803 you did it i said that's right, 00:22:24.440 --> 00:22:31.966 but it did and not only it did i do it but it was in the length and in the size 00:22:31.966 --> 00:22:35.063 and in the configuration that i could afford. 00:22:35.784 --> 00:22:41.093 Not something I couldn't have really, you know, if somebody had made me a good 00:22:41.093 --> 00:22:47.563 offer on a 50, 60 footer, at that point, I would have been in the poorhouse 00:22:47.563 --> 00:22:48.640 trying to just keep it up. 00:22:49.354 --> 00:22:53.873 But this was perfect. And we sailed that boat. We called it the Valkyrie. 00:22:53.873 --> 00:22:55.678 We sailed that boat for six years. 00:22:56.160 --> 00:23:02.227 David and I, we put it in every, put it out in every, in every ramp all the 00:23:02.412 --> 00:23:04.438 way in Southern California. 00:23:05.019 --> 00:23:10.992 And so this shows you, and by the way, that made such a believer out of my boss 00:23:11.300 --> 00:23:13.433 that he became from a total materialist. 00:23:13.433 --> 00:23:18.583 He went and took a version of Silva Mind Control, and then he became a firm 00:23:18.583 --> 00:23:20.513 believer in creative visualization. 00:23:23.199 --> 00:23:26.403 Now, however, I wanted to make sure if you do this sort of thing, 00:23:26.748 --> 00:23:30.019 be sure that you do these pictures in color. 00:23:30.786 --> 00:23:36.063 Because there is a story, I think Jose Silva tells it, a story about the gal 00:23:36.063 --> 00:23:40.813 who wanted to take a vacation in Hawaii. So she had a picture of Diamond Head 00:23:40.813 --> 00:23:45.118 on her desk, and she kept looking at that, dreaming of a vacation in Hawaii. 00:23:46.833 --> 00:23:51.979 And finally, sure enough, she won. She actually won a vacation in Hawaii. 00:23:52.668 --> 00:23:57.813 But unfortunately, it was a two-week vacation, and the whole time she was in 00:23:57.813 --> 00:23:59.285 Hawaii, it rained steadily. 00:23:59.994 --> 00:24:04.749 Now, the picture was in black and white. Picture of diamond head in black and white. 00:24:05.074 --> 00:24:08.272 That's why it rained steadily because the picture was not in color. 00:24:09.321 --> 00:24:14.772 Now, of course, another example, which is pretty kind of sinister, 00:24:15.294 --> 00:24:18.760 is the Nazis knew about this. 00:24:19.132 --> 00:24:24.989 And they made a fake photograph. We used to call them cosmographs in those days 00:24:24.989 --> 00:24:27.724 before Photoshop. We did them with airbrushes. 00:24:28.159 --> 00:24:33.395 They made a fake photograph of the boulevard in Prague. 00:24:34.024 --> 00:24:38.296 And down the main boulevard, they had these stormtroopers marching. 00:24:38.787 --> 00:24:41.855 And they had to piece those in, of course, and then airbrush them in. 00:24:42.180 --> 00:24:46.959 So this whole column of stormtroopers holding the swastig in there marching 00:24:46.959 --> 00:24:48.392 down the main drag in Prague. 00:24:48.705 --> 00:24:53.589 They made a photo mural out of this and they put it up in a war room while they 00:24:53.589 --> 00:24:55.631 were planning their invasion of Prague. 00:24:56.425 --> 00:25:00.044 Well, you know, they were very successful in the invasion of Prague, 00:25:00.886 --> 00:25:04.799 but then one of their top Nazis, Heidrich, was assassinated and, 00:25:04.799 --> 00:25:06.475 of course, they lost the war and all that. 00:25:06.842 --> 00:25:10.249 So it should have been a color. Well, I think that color might be... 00:25:10.589 --> 00:25:17.229 I'm glad it wasn't. Anyway, but this sort of thing actually does work. 00:25:17.229 --> 00:25:23.739 Now, however, let's talk about visualization that you do, not just pictures 00:25:23.739 --> 00:25:26.758 that you put together, although that is effective. 00:25:29.196 --> 00:25:32.870 The visualization that you train yourself to do now, 00:25:33.543 --> 00:25:40.160 it's important that you understand that visualization creative visualization 00:25:40.508 --> 00:25:44.873 to be done correctly has to be done in a certain area, 00:25:45.555 --> 00:25:49.599 it you can't have it floating around well you can but it doesn't work that well 00:25:49.854 --> 00:25:51.688 to have it floating around in the back of your head, 00:25:52.390 --> 00:25:59.129 now i unfortunately some artists Some people, like myself, when I originally, 00:25:59.576 --> 00:26:01.835 I originally, that's where I had it. 00:26:02.895 --> 00:26:07.175 I get nice visualizations, but they'd be floating around back in the middle of my head somewhere. 00:26:08.335 --> 00:26:12.514 I didn't do them on front screen. I didn't do them in front of my closed eyelids. 00:26:13.007 --> 00:26:19.279 I did them back in my head. And being an artist, I'd sort of bring them to life on the paper. 00:26:19.974 --> 00:26:23.215 But they were being created back in the head somewhere. Well, 00:26:23.215 --> 00:26:27.486 now, that doesn't work all that well for creative visualizations. 00:26:28.293 --> 00:26:31.714 And by the way, I discussed this with Fred Adams, and he said, 00:26:31.714 --> 00:26:33.976 and he's a wonderful artist, but he said the same thing. 00:26:34.542 --> 00:26:38.217 He had tremendous imagination, but he was visualizing

back in his head somewhere. 00:26:38.988 --> 00:26:44.154 Now, for effective creative visualization, you need to get it on front screen. 00:26:44.154 --> 00:26:49.213 And what I mean by that is, well, Jose Silva says, close your eyes and imagine, 00:26:50.144 --> 00:26:55.524 a widescreen movie screen about six feet away from your closed eyes. 00:26:55.958 --> 00:26:59.164 And it fills your whole closed-eye vision. 00:27:00.306 --> 00:27:04.994 That's where you imagine yours. And that's about ideal. That's really ideal. 00:27:04.994 --> 00:27:07.754 Imagine that about six feet in front of you, and it's a big screen, 00:27:07.754 --> 00:27:11.864 like a big television set, high-definition TV set, and you've got your eyes 00:27:11.864 --> 00:27:14.211 closed. Now, that's the perfect framework. 00:27:14.653 --> 00:27:18.384 Get it around, and you need to get it out of the back of your head and get it 00:27:18.384 --> 00:27:21.201 around and get it on that front screen. Make sure it gets on there. 00:27:21.648 --> 00:27:27.676 Now, Jose Silver also points out another couple of things that are very important. 00:27:28.048 --> 00:27:33.352 If you want to do kind of moving pictures about what you want to have happen, 00:27:34.035 --> 00:27:37.803 then bring it in from the left side. 00:27:38.710 --> 00:27:42.881 Bringing the picture in from the left and off to the right. Now, 00:27:42.881 --> 00:27:48.201 the reason for this is that the left, moving from left to right, 00:27:48.346 --> 00:27:51.568 that's the way the brain works. That's the future is on the left, 00:27:51.934 --> 00:27:53.490 and the past is on the right. 00:27:53.844 --> 00:27:59.736 So be sure that if you're making a sequential, that you do this left to right visualization. 00:28:02.380 --> 00:28:07.351 Now, along the line of magic itself, in pure magic, you know, 00:28:07.351 --> 00:28:11.821 in a magical process, You know, creative visualization, you don't have to be 00:28:11.821 --> 00:28:14.614 a magician to use it. A lot of people are not magicians. 00:28:14.974 --> 00:28:19.839 And by the way, Silver Mind Control is a wonderful program. I strongly recommend it. 00:28:20.781 --> 00:28:24.901 And a lot of creative visualization, you don't have to be a magician. 00:28:25.507 --> 00:28:30.499 This will work for anybody that seriously does it for getting things. 00:28:30.842 --> 00:28:34.856 Remember, though, in magic or in anything else, 00:28:35.781 --> 00:28:41.111 you're going to get, you do this right you're going to get what you want but 00:28:41.111 --> 00:28:44.861 it may not be what you need and it may not even be. 00:28:45.861 --> 00:28:49.501 What you really want either but in my case you know as i, 00:28:50.061 --> 00:28:54.893 i overdid it i i was i was looking for a boat that i couldn't afford, 00:28:55.438 --> 00:28:59.838 and and sure enough i got the same kind of thing in a form that i could afford 00:29:00.198 --> 00:29:06.081 and that was thoroughly enjoyable and and worked out perfectly and and so in 00:29:06.081 --> 00:29:08.063 this case it worked for me but, 00:29:08.649 --> 00:29:15.087 as sophia points out you should be aware of certain limitations don't wish for something, 00:29:15.534 --> 00:29:19.541 that that's going to drive you to the poor house or sail you to the poor house 00:29:19.541 --> 00:29:23.388 or or something like that it works for something that you that's within the 00:29:23.789 --> 00:29:25.896 within the realm of what you can what you can handle, 00:29:26.488 --> 00:29:31.674 and the same thing applies to people by the way you can take um you know you can take um, 00:29:32.523 --> 00:29:36.616 a playboy playmate, I suppose, if you're a guy, and use that. 00:29:36.912 --> 00:29:39.807 I keep looking at that all the time and saying, I'm going to get a girl like 00:29:39.807 --> 00:29:42.897 that, I'm going to get a girl like that. Well, yeah, you may, 00:29:42.897 --> 00:29:49.241 but then on the other hand, you may end up being more miserable than you want to be. 00:29:49.673 --> 00:29:52.866 And, yeah, it might very well work. 00:29:54.589 --> 00:30:01.250 I did a comic strip one time, and I was doing it with one of the guys at work. 00:30:02.117 --> 00:30:06.407 A fellow artist, and we were going to get this comic strip, kind of an R-rated 00:30:06.407 --> 00:30:11.097 thing, called I called it Valkyra it was a, 00:30:11.617 --> 00:30:17.167 the heroine was a seven foot tall Valkyrie with spiked steel breastplates and 00:30:17.167 --> 00:30:21.856 a little wolf skin bikini bottom and you know whatever, with a winged helmet, 00:30:23.017 --> 00:30:28.837 kind of a R-rated Wonder Woman kind of thing and you know, in doing all the 00:30:28.837 --> 00:30:31.301 work I put in on that and it was a lot of fun, 00:30:31.875 --> 00:30:35.057 I ended up with one big blonde after another. 00:30:36.777 --> 00:30:41.587 It was a sort of a, you know, you put enough visualization into that, 00:30:41.842 --> 00:30:43.781 and sure enough, they walk in your front door. 00:30:44.577 --> 00:30:49.697 So you could use this to attract people. You could do all sorts of stuff with it. 00:30:50.256 --> 00:30:56.653 Now, however, to get into the magical end of this, the purely magical end of this, 00:30:57.557 --> 00:31:03.305 What we like to do in magic is we like to be able to train ourselves to where 00:31:03.688 --> 00:31:11.942 we can visualize very clearly and ultimately with eyes open, very clearly, 00:31:12.917 --> 00:31:18.297 and specifically and hold these visualizations, visualizations of angels, 00:31:18.297 --> 00:31:21.177 talismanic images, all these various things. 00:31:21.177 --> 00:31:24.527 We like to be able to throw them out there on the front screen and hold them, 00:31:25.637 --> 00:31:27.459 and make them as real as possible. 00:31:27.923 --> 00:31:31.151 And the more real we can make them, the more effective they are. 00:31:32.398 --> 00:31:36.668 And it's like the Tibetans,

you know, their idea is keep making it realer and 00:31:36.668 --> 00:31:39.977 more and more real and more and more real, more and more real, more and more real. 00:31:40.285 --> 00:31:43.228 And when it reaches out and bites you, then you reabsorb it, 00:31:43.228 --> 00:31:45.086 then you start over again with something else. 00:31:45.695 --> 00:31:50.528 Now, that's what they do. But what we want to do is we want to make our guardian 00:31:50.528 --> 00:31:54.076 angels, you know, on the four quarters. We want to make them real. 00:31:54.372 --> 00:32:03.128 We want to make our God forms real. So we want to make these images as plastic, 00:32:03.128 --> 00:32:08.459 as real, and as effective as possible to get these things across. 00:32:08.761 --> 00:32:13.898 So what we do is we actually, and when we're doing this, we're actually bringing 00:32:13.898 --> 00:32:15.320 them into life on the astral. 00:32:16.000 --> 00:32:18.988 Yeah, because remember the preformed theory. You bring it out there, 00:32:18.988 --> 00:32:23.038 you imagine that some essence of it's going to be out there. 00:32:23.038 --> 00:32:25.653 It's going to be, you know, you're bringing them to life. 00:32:26.518 --> 00:32:28.678 And especially if they're traditional forms. 00:32:31.921 --> 00:32:36.966 You're really enlivening them. Because remember, in Hermetic philosophy, 00:32:37.448 --> 00:32:38.766 you're in the center of the universe. 00:32:38.998 --> 00:32:44.371 And when you step into that circle, the center of that circle, you're God. 00:32:45.031 --> 00:32:52.488 Now, what I'd like to do, and being a little formal here, I'd like to read you 00:32:52.488 --> 00:32:58.055 one of our lessons, and I'll go through this, as, let's paraphrase, possible. 00:32:58.282 --> 00:33:04.398 I'd like to read you one of our lessons in this particular practice so that 00:33:04.398 --> 00:33:06.461 we can get the magical perspective across, 00:33:07.682 --> 00:33:10.724 Now, this is called magical visualization training. 00:33:12.987 --> 00:33:18.009 And it pretty much covers how this is done from a magical point of view. 00:33:18.955 --> 00:33:23.267 Now, the mirror and the crystal screen methods that we have taught you thus 00:33:23.267 --> 00:33:30.117 far have made the wonders of magic accessible to you without natural clairvoyance 00:33:30.117 --> 00:33:32.648 or years of rigorous training. 00:33:33.305 --> 00:33:39.247 However, these intermediate methods of invocation and evocation, 00:33:39.347 --> 00:33:45.482 effective as they are, are not the outer limit of the magical art. 00:33:46.064 --> 00:33:51.991 You have crossed the threshold, tasted the forbidden fruit, and seen glimpses of worlds beyond. 00:33:52.386 --> 00:33:55.909 Now, the life's work of the true wizard begins. 00:33:57.090 --> 00:34:02.577 You are going to train your mind to see and hear the angels the spirits and 00:34:02.577 --> 00:34:07.804 the wonders of the higher spheres without depending on. 00:34:09.234 --> 00:34:15.144 On the auric phenomenon of the crystal, or your reflection in the dark mirror. 00:34:15.945 --> 00:34:22.366 You are going to transform your mind into a powerful, magical device that can 00:34:22.366 --> 00:34:27.796 receive visions from the greater universe and project your disciplined will, 00:34:28.416 --> 00:34:33.325 onto the matrix of the thought forms that generate creation itself. 00:34:34.215 --> 00:34:39.204 The mind, as those who developed the Macintosh computer were aware, 00:34:39.458 --> 00:34:42.256 thinks in pictures, colored pictures, actually. 00:34:43.036 --> 00:34:48.684 Therefore, if we want to impart, to imprint our subconscious, 00:34:49.346 --> 00:34:56.493 the morphogenic field we call the astral, we can do it most effectively with images. 00:34:57.124 --> 00:35:02.645 Ancient pagan priests, who were often magicians, were well aware of this. 00:35:03.254 --> 00:35:10.046 And their so-called idol worship was an effective form of psycho-mystic mental 00:35:10.046 --> 00:35:11.544 and emotional programming. 00:35:12.508 --> 00:35:18.326 The power-hungry monotheistic biblical and Quranic cults were also aware of 00:35:18.326 --> 00:35:21.872 this visual power and were intent on suppressing it. 00:35:22.690 --> 00:35:29.806 The magic of the word has power, but its ultimate secret power lies in the visualization 00:35:30.056 --> 00:35:33.265 of the formulas in all the scales of emanation, 00:35:33.706 --> 00:35:38.344 and we refer you in this case to Franz Barton's key to the true caballon. 00:35:39.779 --> 00:35:46.090 Tibetan Tantric yoga recognizes these principles and has had a 1,000-year head 00:35:46.090 --> 00:35:47.825 start on us in perfecting them. 00:35:48.812 --> 00:35:54.460 We can learn much from our Eastern colleagues in this area, but we should remember 00:35:54.460 --> 00:35:57.821 that their philosophical perspective is not the same as ours, 00:35:58.093 --> 00:36:00.978 and therefore their methods are somewhat different. 00:36:01.579 --> 00:36:05.400 To oversimplify the difference, let us say that we believe everything in the 00:36:05.400 --> 00:36:09.710 universe has some measure of reality, whereas they hold that everything, 00:36:09.710 --> 00:36:11.889 including the universe itself, is an illusion. 00:36:12.612 --> 00:36:16.070 Now, this may seem to be the same element felt by different blind men, 00:36:16.070 --> 00:36:20.176 but it does bring about some practical differences in training. 00:36:20.745 --> 00:36:28.116 We insist on a whole universe that hangs together in one grand design because it is real. 00:36:29.119 --> 00:36:34.145 They can have a different system of symbolic correspondences for each entity, 00:36:34.906 --> 00:36:39.046 because nothing needs to match up in a non-existent universe. 00:36:39.611 --> 00:36:43.890 We start with simple building blocks, whereas they start off with elaborate 00:36:43.890 --> 00:36:47.217 God forms, like Lord Chenrezig.

00:36:48.170 --> 00:36:49.430 We had a joke about that. 00:36:50.723 --> 00:36:55.460 Forewarned is forearmed, and forearmed is forewarned. At this point, 00:36:55.460 --> 00:36:57.080 the perceptive student will be 00:36:57.080 --> 00:37:01.907 asking, but what is the advantage of making pictures in your imagination? 00:37:02.493 --> 00:37:10.656 What do they actually do for you besides help you figure out how to draw or build something? 00:37:11.253 --> 00:37:12.657 Now, that's exactly right. 00:37:13.373 --> 00:37:18.360 To design and build something. That's what magical visualization is all about. 00:37:19.731 --> 00:37:24.019 This revelation brings us to the crux of Western magical field theory. 00:37:24.320 --> 00:37:29.005 Plato conceived the idea, the original idea, in fact, a pre-existing template 00:37:29.202 --> 00:37:32.105 for everything that manifests into physical reality. 00:37:32.929 --> 00:37:40.411 Plotinus gave this abstract concept a moving, generating force. Who's the force, Luke? 00:37:41.231 --> 00:37:46.431 With this theory of emanations, one does not have to be a rocket scientist to 00:37:46.431 --> 00:37:52.430 see how these ideas provide the practical power behind tabloistic magical formulas. 00:37:53.123 --> 00:37:59.648 And those formulas, according to Franz Martin, need to be visualized for their full effect in magic. 00:37:59.961 --> 00:38:03.067 As in desktop publishing, what you see is what you get. 00:38:03.800 --> 00:38:08.437 So, let's do some deep breathing, pranayama, relax, yoga dindra, 00:38:08.966 --> 00:38:15.351 calm our minds, and especially don't think of a hippopotamus, and let's get it on. 00:38:17.458 --> 00:38:21.421 Preventory exercises. Now, before we start actually visualizing, 00:38:21.421 --> 00:38:26.606 we have to learn to control our minds and our bodies so that we can maximize the effect. 00:38:26.983 --> 00:38:32.202 We want to be able to hold these visualizations in a magical trance state to work with them. 00:38:32.626 --> 00:38:36.602 This means that we need to master basic yoga and self-hypnosis. 00:38:37.656 --> 00:38:42.401 For these prerequisites, I suggest two classic works, Fundamentals of Yoga by 00:38:42.401 --> 00:38:47.001 Ramutri Mishra, that's Raja Yoga System, and Self-Hypnotism, 00:38:47.001 --> 00:38:51.159 Its Technique and Use in Daily Living by Leslie M. LeCron. 00:38:52.267 --> 00:38:56.470 Both have been in print in numerous editions for 30 years. 00:38:56.929 --> 00:39:01.381 In yoga training, you need to concentrate on pranayama, breathing, 00:39:01.753 --> 00:39:07.639 and the process of Krantakam Yoga, the yoga of the fixed gaze. 00:39:07.958 --> 00:39:12.471 The latter prepares you to achieve the magician's steady, unblinking stare, 00:39:12.471 --> 00:39:15.749 are so necessary for future visualization work. 00:39:16.930 --> 00:39:21.083 In self-hypnosis training, you need to concentrate on establishing the out loud 00:39:21.083 --> 00:39:25.553 dialogue between your conscious voice and your inner subconscious ear. 00:39:25.593 --> 00:39:32.193 Some of that, at this point, you should review the mental training exercises 00:39:32.193 --> 00:39:37.563 that we said more earlier, making certain that you've mastered them before undertaking 00:39:37.563 --> 00:39:39.923 these advanced visualization exercises. 00:39:39.923 --> 00:39:43.444 That means self-hypnosis and basic yoga. 00:39:44.614 --> 00:39:50.012 You should be able to sit in an asana for five minutes with a completely calm mind. 00:39:50.993 --> 00:39:55.993 Before beginning actual visualization training, in our advanced master ritual, 00:39:56.553 --> 00:40:01.513 we require 32 repetitions of the mantra, through me flows a river of unlimited 00:40:01.513 --> 00:40:07.973 love, followed by 22 repetitions of craniyama cycle before visualization begins. 00:40:08.941 --> 00:40:15.933 Franz Martin starts us off in visualization with an exercise popularly known 00:40:15.933 --> 00:40:20.108 as Kim's Game from Kepler's novel, Kim. 00:40:21.603 --> 00:40:28.091 It is a visual memory and concentration aid, which is good as far as it goes, 00:40:28.440 --> 00:40:32.555 especially for detectives, intelligence operatives. 00:40:33.740 --> 00:40:36.822 And military observers for whom it was developed. 00:40:37.520 --> 00:40:43.903 But William G. Gray, in his book Magical Ritual Methods, had a concept much 00:40:43.903 --> 00:40:45.762 more applicable to the magician. 00:40:46.599 --> 00:40:53.395 Gray starts us off with four basic objects. a knife, a paintbrush, a cup, and a disc. 00:40:53.986 --> 00:40:57.123 Black on the disc, black on one side, white on the other. Now, 00:40:57.123 --> 00:41:00.913 besides being a simple version of the grail aloes and the magician's elemental 00:41:00.913 --> 00:41:07.344 tools, these objects also are creative agents and manifesting surfaces in their own right. 00:41:08.174 --> 00:41:12.633 Barden wants us to work on visually remembering a collection of nonspecific 00:41:12.633 --> 00:41:16.283 common objects as to position, size, and color, etc. 00:41:17.135 --> 00:41:22.452 This is good memory training, but this is an important point of the creative process. 00:41:23.057 --> 00:41:29.053 Our brain's optic sensor processor is programmed to filter out what it considers 00:41:29.053 --> 00:41:31.550 unnecessary sensory input. 00:41:32.490 --> 00:41:41.446 Thus, we only perceive as much of an object as we need to in order to identify it and to use it. 00:41:42.401 --> 00:41:48.023 But to design it and to create it, either as an engineer on his drawing board 00:41:48.023 --> 00:41:54.420 or a magician in his meditation, you need to do more than just snap a metal picture of it. 00:41:55.040 --> 00:42:00.173 You need to know the object in every aspect. For example, we're all familiar 00:42:00.173 --> 00:42:01.913 with pencils. We use them every day. 00:42:03.171 --> 00:42:06.579 But how many of us know how many sides a

pencil has? 00:42:07.181 --> 00:42:11.628 Do we know how many vans and crimps there are in the eraser shield? Thank you. 00:42:12.862 --> 00:42:17.940 Do we know what's printed and embossed, actually, or on the side of the pencil? 00:42:18.526 --> 00:42:21.800 And at this point, we must admit, we really don't know pencils. 00:42:22.258 --> 00:42:24.006 So how can we expect to create one? 00:42:24.736 --> 00:42:28.677 The above conception is so important to this process that it cannot be overemphasized. 00:42:29.107 --> 00:42:34.012 This is why it's important to read Walter Atkinson, and he wrote under the name 00:42:34.012 --> 00:42:37.443 of Rama Sharaka, his little book on Raja Yoga. 00:42:38.122 --> 00:42:45.801 His is one of the very few works to deal with this vital aspect of the imaginary creative process. 00:42:46.411 --> 00:42:53.312 So, to begin, we select the most simple utilitarian objects to represent our 00:42:53.312 --> 00:42:54.712 four magical implements. 00:42:54.712 --> 00:42:57.732 A small paring knife, paint the handle yellow if you want to, 00:42:58.173 --> 00:43:02.248 a small watercolor brush, paint the handle red if you wish or get a red handle, 00:43:02.718 --> 00:43:08.562 a shot glass or any small glass tumbler, and your disk, five inches in diameter, 00:43:08.562 --> 00:43:10.938 white on the inverse and black on the reverse. 00:43:11.501 --> 00:43:14.832 Along with these items, you will need a small practice stand, 00:43:14.832 --> 00:43:17.902 about 18 inches high, a black cloth. 00:43:19.559 --> 00:43:23.901 About 3 feet square minimum, a kitchen timer and a small tape measure, 00:43:24.156 --> 00:43:28.692 a blackout mask, blindfold, and if you are in a noisy environment, 00:43:28.692 --> 00:43:30.356 a pair of shooting muffs in addition. 00:43:30.907 --> 00:43:35.117 And it's nice to have a horse air cushion, the yoga meditation type to sit on. 00:43:35.713 --> 00:43:40.467 Now, 15 minutes a day, preferably in the morning, should be allocated in this training. 00:43:41.473 --> 00:43:45.742 Now we have our preliminary homework done. We have our basic texts, 00:43:45.742 --> 00:43:46.792 and we have our equipment. 00:43:46.792 --> 00:43:50.862 Let's get down to work. I found that early morning, before the stresses of the 00:43:50.862 --> 00:43:55.467 day set in, and wow, a store of sucking energy as high as the best time, 00:43:55.821 --> 00:43:57.720 after coffee but before breakfast. 00:43:58.185 --> 00:44:02.712 Remember to start with a few stretching and limbering up exercises and take 00:44:02.712 --> 00:44:07.862 the asana, do a few minutes pranayama, put your black cloth over your practice 00:44:07.862 --> 00:44:10.241 stand, lay out your first object tonight. 00:44:10.658 --> 00:44:15.586 The air element, the sword, the air dagger, rave me on the east. First, 00:44:16.851 --> 00:44:19.871 Study the object and the knife carefully. 00:44:20.211 --> 00:44:23.800 Measure it with your tape. Measure the handle, the blade, the width, 00:44:23.975 --> 00:44:27.290 the thickness, etc. Study the logo if it has one. 00:44:27.644 --> 00:44:33.951 Learn everything about this object and write it down in your journal and make 00:44:33.951 --> 00:44:37.349 a sketch of it with the dimensions and color it in. 00:44:37.738 --> 00:44:42.351 You will know more about this little knife than anyone except the person who 00:44:42.351 --> 00:44:43.329 originally designed it. 00:44:44.247 --> 00:44:49.961 Now then, put the knife on the table, close your eyes, and pick it up. This is important. 00:44:50.441 --> 00:44:56.476 Hold it between your hands with your fingertips and see it between your fingers. 00:44:57.062 --> 00:45:01.131 Now, you folks who think you can visualize on front screen behind your closed 00:45:01.131 --> 00:45:04.765 eyelids will see that you can. If you think you can, you'll see you can't. 00:45:05.084 --> 00:45:08.201 This process brings you on front screen automatically. 00:45:08.837 --> 00:45:14.567 Remember that. You hold your object first with your blindfold on, and then don't bring it. 00:45:15.142 --> 00:45:18.821 Keep your eyes closed first. Now, slowly move the knife around at different 00:45:18.821 --> 00:45:22.015 sides and angles. Place it back on the table. See it lying there. 00:45:22.299 --> 00:45:26.316 Now, open your eyes. Set your timer for five minutes. Close your eyes again. 00:45:26.519 --> 00:45:30.164 Pick up your object again, and hold it until the picture is strong, 00:45:30.380 --> 00:45:32.499 and then replace it on the table and see it there. 00:45:32.875 --> 00:45:37.851 Hold this visualization for five minutes. Every time it starts to fade or go wonky, pick it up. 00:45:38.205 --> 00:45:41.971 Pick the knife up again with eyes closed. Reinforce the picture with tactile 00:45:41.971 --> 00:45:45.383 reference. You have successfully completed this exercise. 00:45:45.645 --> 00:45:48.866 When you can go a full five minutes on the stationary object, 00:45:49.122 --> 00:45:55.165 using this method is much easier to accomplish than Barden's struggle until you see it approach. 00:45:55.905 --> 00:46:01.641 Magic is not easy, so take advantage of every technique that will help you along the way. 00:46:01.641 --> 00:46:06.941 Remember, Barden was a clairvoyant, and even though he knew his yoga and everything 00:46:06.941 --> 00:46:11.411 else, He really didn't know how to teach you this, how to teach you to visualize, 00:46:11.411 --> 00:46:15.001 because he was clarifying it with eyes open. 00:46:15.924 --> 00:46:21.505 Now that we have the eyes closed, on screen, behind the closed eyelids, and this is important, 00:46:21.946 --> 00:46:27.014 now we have the eyes closed, on screen, behind closed eyelids, 00:46:27.380 --> 00:46:31.464 and part of this is mastered to the extent that we can hold each of our practice 00:46:31.464 --> 00:46:35.025 objects clearly in view for several minutes. This is with eyes closed. 00:46:35.623 -->

00:46:39.559 Let's start moving them around, rotating them, and changing their size. 00:46:39.756 --> 00:46:40.853 That's without holding them. 00:46:41.351 --> 00:46:45.693 Remember, the small objects at close range are seen in isometric proportions, 00:46:45.989 --> 00:46:50.194 perspective that is not a problem until we begin perspective itself is not a 00:46:50.194 --> 00:46:53.321 problem until we begin to create environments. 00:46:54.472 --> 00:46:59.312 In Magical Ritual Methods, this is a book by Bill Gray, he provided one of the 00:46:59.312 --> 00:47:02.872 cleverest ways to visualize letters in Hebrew. 00:47:03.383 --> 00:47:05.078 We prefer, of course, the Phoenician. 00:47:05.875 --> 00:47:11.302 When you have reached the stage where you can fully and steadily visualize your 00:47:11.302 --> 00:47:16.362 tools, you fill your cup, your little glass, with brightly colored paint in 00:47:16.362 --> 00:47:19.514 the color allocated for the letter. Of course, you're visualizing this. 00:47:20.187 --> 00:47:24.212 And you see the letter that you see in the magical alphabet. 00:47:24.212 --> 00:47:30.748 But you dip your paintbrush, your little wand paintbrush, the fire wand, 00:47:31.004 --> 00:47:32.397 into your little chalice. 00:47:32.856 --> 00:47:34.712 And then you're doing all this with your eyes closed now. 00:47:35.670 --> 00:47:40.212 And then describe the letter on your disk. And you're seeing all this, 00:47:40.212 --> 00:47:43.164 either in the black side or the white side. 00:47:43.425 --> 00:47:48.783 And be sure to vocalize and vibrate the letter or formula as you visualize it. 00:47:49.572 --> 00:47:55.132 This combines the dynamic movement of your astral magical tools with the creative 00:47:55.132 --> 00:47:57.652 visualization of the magical alphabet, and it links it 00:47:57.995 --> 00:48:01.892 to the power of your magical voice, which completes the sensory loop to your 00:48:01.892 --> 00:48:05.211 subconscious mind and quadruples the effect. 00:48:06.034 --> 00:48:11.195 This is a technique of considerable value, and it varies to learn and to do. 00:48:11.775 --> 00:48:19.432 It will give you the ability to pronounce names of power in the full magical sense of the word. 00:48:20.047 --> 00:48:21.970 After mastering objects. 00:48:23.279 --> 00:48:27.899 And astral formula creation, you should work on creating God forms, 00:48:27.899 --> 00:48:33.667 angelic icons, the Tibetans call these anthropomorphic symbolic figures, the Tonkas. 00:48:34.485 --> 00:48:37.629 In the OTA, we start with the four archangels of the quarters, 00:48:37.629 --> 00:48:40.046 Raphael, Mikael, Gabrielle, and Oriole. 00:48:40.959 --> 00:48:44.863 Yes, and the first two are male, and the second pair are female in our system. 00:48:45.467 --> 00:48:50.949 If you want to see our Gaborah warrior goddess from Manat, she's pictured in 00:48:50.949 --> 00:48:55.649 our new tarot card conquest, accessing Daoth, and you want to see the seventh 00:48:55.649 --> 00:48:58.123 ray, look to the red ray for that. 00:48:58.693 --> 00:49:02.935 Make these forms so real and plastic that they are ready to come alive, 00:49:03.162 --> 00:49:06.070 and then they will come alive. 00:49:06.918 --> 00:49:08.398 What you see is what you get. 00:49:09.552 --> 00:49:14.156 So now, how do we learn to do all this with eyes open? 00:49:15.069 --> 00:49:19.459 Well, it's much easier than you probably thought. First, you will be doing this 00:49:19.459 --> 00:49:22.139 in a subdued light on a prepared surface. 00:49:22.447 --> 00:49:26.650 One magical school used a blue velvet drape for this purpose. 00:49:27.067 --> 00:49:31.309 But some years ago, I discovered how to make the transition from eyes closed 00:49:31.309 --> 00:49:37.607 to eyes open a very easy process. You start by simply opening your eyes behind your blindfold. 00:49:38.297 --> 00:49:41.972 That's hardly any different than with your eyes closed. 00:49:42.413 --> 00:49:46.669 And you got your object on front screen. Once you've gotten this technique to 00:49:46.669 --> 00:49:52.664 working, then adjust the light as low as necessary and slowly remove the blindfold. 00:49:52.873 --> 00:49:58.144 Extending your locust to the black velvet or black or velvet broadcloth drape 00:49:58.510 --> 00:50:05.505 and you will quickly discover that there was no great hurdle to overcome. 00:50:06.149 --> 00:50:11.529 Now, clairaudience, it would be the depth of folly to work for months creating 00:50:11.529 --> 00:50:16.409 an angelic or mythic God form which would finally appear in full glory and visual 00:50:16.409 --> 00:50:19.129 splendor but would be utterly silent. 00:50:19.993 --> 00:50:24.426 In the case of our and almodel invocations and goetic invocations, 00:50:24.810 --> 00:50:29.873 the entities most often engender knowings in our minds or speak through our 00:50:29.873 --> 00:50:32.118 lips in the mediumistic channeling process. 00:50:32.745 --> 00:50:36.023 Now, having perfected these methods of spirit communication, 00:50:36.023 --> 00:50:40.843 you can fall back on them to provide a voice for your advanced free-form visualizations. 00:50:42.277 --> 00:50:47.480 But why not upgrade your inner plain vocal communication process as well? 00:50:48.240 --> 00:50:52.054 Abarth recommends combining imagined sounds with your imagined pictures. 00:50:52.453 --> 00:50:55.733 See and hear bells ringing, clocks ticking, birds singing, and so on, 00:50:55.733 --> 00:51:02.913 and imagine the sound of Oum, and the names of archangels, the names of power, the tetragrammaton. 00:51:04.384 --> 00:51:11.293 Get a set of tuning forks, a pitch pipe, or an electronic synthesizer to attune 00:51:11.293 --> 00:51:17.153 your psychic centers or chakras to the musical scale, and hear these notes in audio memory. 00:51:17.533 --> 00:51:20.635 Then create them. And don't forget, smell, touch, and taste. 00:51:21.204 --> 00:51:25.263 Try eating your favorite meal on the

astral, but be careful not to violate your diet. 00:51:25.855 --> 00:51:29.993 Astral ice cream will not make you laugh, but it might erode your willpower 00:51:30.243 --> 00:51:32.893 and thus accomplish the same thing indirectly. 00:51:33.393 --> 00:51:34.805 What you see is what you get. 00:51:35.514 --> 00:51:41.993 Remember that modern psychology confirms what magicians have known for thousands of years. 00:51:42.369 --> 00:51:47.867 A vivid apparition can be as awe-inspiring or as terrifying to the human mind 00:51:48.163 --> 00:51:53.056 as any manifestation of what the materialists call reality. 00:51:53.753 --> 00:51:59.943 Beyond that significant fact lies the deeper and more profound truth of the 00:51:59.943 --> 00:52:03.453 creative powers inherent in such a process. 00:52:04.162 --> 00:52:07.072 Well, that concludes our lesson on that. 00:52:09.601 --> 00:52:10.484 Next week. 00:52:13.266 --> 00:52:19.126 We're going to have a discussion on magical hypnosis. And we're going to get 00:52:19.126 --> 00:52:21.000 into in-depth on that subject. 00:52:21.696 --> 00:52:25.555 And hopefully, I'm going to have one of my esteemed colleagues. 00:52:26.726 --> 00:52:30.206 Ann Finnan, who has become quite a magical hypnotist. 00:52:30.206 --> 00:52:37.430 She's taken professional courses in hypnotism, and she's especially good at magical hypnosis. 00:52:37.726 --> 00:52:44.601 We'll have her call in, and she and I will expound on hypnosis and magic, 00:52:45.060 --> 00:52:49.701 and that will be very, very well worth tuning into. 00:52:50.299 --> 00:52:55.196 Creative visualization is one of the most powerful techniques and one of the 00:52:55.196 --> 00:53:01.946 most satisfying techniques that, by the way, just really can do nothing but 00:53:01.946 --> 00:53:04.531 improve your concentration. 00:53:04.763 --> 00:53:07.334 It improves your concentration. It improves your focus. 00:53:07.718 --> 00:53:10.700 Improves your entire life and be improved by it. 00:53:11.054 --> 00:53:17.544 But hypnosis, self-hypnosis and hypnosis are very important to that. 00:53:18.142 --> 00:53:20.313 So be sure and tune in next week 00:53:20.626 --> 00:53:26.966 and have call-ins because you can talk to myself and you can talk to me. 00:53:26.966 --> 00:53:31.966 Well, Anne's on the phone, of course you can't, but you can call in after she's, 00:53:32.586 --> 00:53:36.685 wrapped up and we can talk about the whole hypnotic process. 00:53:37.161 --> 00:53:40.957 And this, by the way, was suppressed. 00:53:41.680 --> 00:53:48.899 The whole hypnotic process in magic was suppressed until just really literally. 00:53:49.833 --> 00:53:57.134 I broke the dam on this one because I published a paper in 1972, 00:53:58.854 --> 00:54:02.318 called Magic and Hypnosis in Gnastica magazine. 00:54:02.654 --> 00:54:07.738 And this has been reprinted in Europe, and it's translated into German. 00:54:08.520 --> 00:54:13.148 It's a landmark paper. Okay, so tune in next week and good magic.